Solo Exhibition at Kuandu Museum of Fine Arts
2013.12.27 – 2014.2.23
2013.12.27 – 2014.2.23
I always have the feeling of not being understood. But there are always people want to tell me their secrets. They might think that I would understand how they feel. Well, there must be some misunderstanding, which I do not understand.
I don’t mean to make this exhibition to challenge the audience, see if they really understand my work. There are so many different ways to perceive and interpret an artwork. Thus I would prefer to create some misunderstandings, shifting the context of the work beyond its surface. In other words, it is not just what it is. I am fascinated by these misunderstandings between communication and perception. Instead of giving answers, I would rather ask questions, to make it more poetic with the possible ambiguities.
Therefore in my work, fail portraits of people suffering from Insomnia with their eyes closed. The camera lens is blocked off by someone’s finger, but produces even more light. The photograph of snow is not just the snow, also the Italian opera is more than just opera. Wanted to be accepted and to be understood, I tell some secrets to my friend but only videotaped their facial expression without my speaking voice. All the punctums are missing in my photobook gutter, but the emotions are still there.
For many years I have been dealing with all sorts of things about communication and perception. I studied advertising and PR in college, learning how to use different media to communicate with consumers. Singing in a choir for 10 years, I share feelings with the audience and also with other singers on stage. For now I am an artist. I try to reveal myself, but at the same time have to think of how the audiences would perceive my work. We are not only making art for ourselves, after all. Now I suddenly realize why people always think that I would understand them.
Then again, I still hope someone could understand me.
我常常覺得自己不被理解。不過一直以來，身旁總有人找我訴說他們的心事，可能覺得我懂吧，這其中是不是有什麼誤會，我不太懂。
展覽的命題並不是要挑戰觀眾說，你們到底懂不懂，我也一直認為理解作品沒有一個標準答案，是能多重解讀的，於是在創作時偏好製造一連串的誤會，讓他們看起來不只是表面上那樣，這些再觀看與理解間所產生的各種誤解到甚至不解，都讓我著迷，與其大聲說出答案，不如提出問句 ，任由曖昧的多種可能性，勾勒出詭譎美好的詩性空間。
是故，在我的作品中，牆上的人閉著眼睛失眠，鏡頭被手擋著卻發出光；照片中的雪不只是雪，聽到的也不是義大利歌劇；想被理解於是對人自白，卻只拍下神情，聽不到聲音；書中照片的刺點也一律看不見，感受依舊存在。
想想，多年來我一直在處理關於理解和感受的種種：大學念的是廣告傳播，用各種媒介和消費者溝通；合唱團唱了十多年，習慣用聲音與聽眾交流，與團員交心；到現在成為創作者，要做自己，還要能理解觀者的感受，畢竟作品是要給人看的嘛。說到這裡似乎漸漸能理解，為什麼常常有人找我訴說，覺得我懂。
不過話又說回來，還是希望有人能懂我。
Nessun Dorma ｜ 你是懂了嘛
Performance, music sheet, and 2-channel video installation (color, sound)
2012
挑選耳熟能詳的詠嘆調「公主徹夜未眠」，以義大利原文音譯，將歌詞改寫成無意義中帶有意義的中文戲謔獨白，以雙面同步投影裝置呈現，一面是義大利原文字幕，另一面則是改寫過的中文。
身為一個前歌劇/合唱歌手，總是需要演唱異國語言，首要學會如何發音，儘管知道一些單字片語，還是無法體會各種語言中細膩之處，於是唱著自己也不懂得意思的歌，表情劇力萬鈞，就連聲音也都被說服了似，我唱得真情，台下觀眾當然通通買單，只覺得這表演、這身段，真是厲害，但他們在唱什麼啊？台上與台下分別就著因襲的崇拜，上下交相賊，頭頭是道，皆大歡喜。
Performance, music sheet, and 2-channel video installation (color, sound)
2012
挑選耳熟能詳的詠嘆調「公主徹夜未眠」，以義大利原文音譯，將歌詞改寫成無意義中帶有意義的中文戲謔獨白，以雙面同步投影裝置呈現，一面是義大利原文字幕，另一面則是改寫過的中文。
身為一個前歌劇/合唱歌手，總是需要演唱異國語言，首要學會如何發音，儘管知道一些單字片語，還是無法體會各種語言中細膩之處，於是唱著自己也不懂得意思的歌，表情劇力萬鈞，就連聲音也都被說服了似，我唱得真情，台下觀眾當然通通買單，只覺得這表演、這身段，真是厲害，但他們在唱什麼啊？台上與台下分別就著因襲的崇拜，上下交相賊，頭頭是道，皆大歡喜。
Snowdust ｜ 塵雪
Photograph, snow and dust
2012
Utilizing the disturbing “dust dot” when scanning negatives, I blend those dots with snow scene to confuse the viewer. It looks like the universe from far, but it’s actuall snow and dust when getting closer.
利⽤用灰塵在掃描中最令⼈人困擾的細⼩小⽩白點,以雪景的負⽚片刻意沾染之,與⽩白雪紛⾶飛混合掃描後真假莫辨;遠看 是宇宙星塵,像是星系,近看(進⼀一步解讀)則是雪與塵。
Photograph, snow and dust
2012
Utilizing the disturbing “dust dot” when scanning negatives, I blend those dots with snow scene to confuse the viewer. It looks like the universe from far, but it’s actuall snow and dust when getting closer.
利⽤用灰塵在掃描中最令⼈人困擾的細⼩小⽩白點,以雪景的負⽚片刻意沾染之,與⽩白雪紛⾶飛混合掃描後真假莫辨;遠看 是宇宙星塵,像是星系,近看(進⼀一步解讀)則是雪與塵。
In Between ｜ 在中間
Artist book, digital offset printed at Conveyor Arts, 230 pages, 5x8 inch, 4th Edition, limited to 100 copies
2013
I used my personal intimate memories accumulated in the two years I’d spent in the States to make a book. Every image’s “studium” has been intentionally positioned in the binding part in the middle of the book, making any faces or facial impressions invisible. The reader is then only able to peek at the abstract figures or ambiguous narrative elements instead of particular people or things; to me as the author, as a result of not being able to see, was able to keep the true memories in literally the middle of the book—the deepest spot in my memory.
我把留美這兩年之間的私密回憶整理成冊，將每幅影像的知點（羅蘭巴特）放置在書本裝禎的中間處，看不見臉，也看不見表情，於是讀者只能窺視我回憶的抽象形，或模糊的敘事元素，而非具體的人事物；身為作者也因為再次的看不見，使得真實的回憶得以保存在(書本)中間，也就是我的記憶深處。
Artist book, digital offset printed at Conveyor Arts, 230 pages, 5x8 inch, 4th Edition, limited to 100 copies
2013
I used my personal intimate memories accumulated in the two years I’d spent in the States to make a book. Every image’s “studium” has been intentionally positioned in the binding part in the middle of the book, making any faces or facial impressions invisible. The reader is then only able to peek at the abstract figures or ambiguous narrative elements instead of particular people or things; to me as the author, as a result of not being able to see, was able to keep the true memories in literally the middle of the book—the deepest spot in my memory.
我把留美這兩年之間的私密回憶整理成冊，將每幅影像的知點（羅蘭巴特）放置在書本裝禎的中間處，看不見臉，也看不見表情，於是讀者只能窺視我回憶的抽象形，或模糊的敘事元素，而非具體的人事物；身為作者也因為再次的看不見，使得真實的回憶得以保存在(書本)中間，也就是我的記憶深處。
Fingerclipes Insomnia ｜ 若有手指失眠
Photo Installation
2013
Photo Installation
2013
Fingerclipes utilize the common mistake of accidentally blocking the lens with a finger or part of a finger to explore the real and surreal between the image and me. Although the finger blocks the view, it creates an effect similar to the sunlight or flare. Often times it becomes unclear whether the finger was really there or something that we don’t understand. By jaxtaposing Fingerclipes and Insomnia, the failed portrait when people blink their eyes, together it creates ridiculous dialogue between the blinking moment, flare, sunlight, and the chance of these happenings.
「若有手指」利用手指常會擋到鏡頭的劣勢進行一連串探索，真實與虛幻的手指在影像中雖遮蔽了視線，但卻創造出太陽般的效果，同時在擺設中穿插意外閉眼、像是夢遊般的「失眠」肖像作品，同樣選自在拍攝時的失敗照，兩者進行荒謬的對話，陽光耀眼而意外閉眼（眨眼）的當下，是為須彌芥子的瞬間，也是手指遮擋鏡頭（視覺）的機遇
Live Opera Performance at the opening night.